#triptych brainstorming

[many-gay-magpies]

okay as far as season four of teen wolf goes i am like. very confused as to what the fuck kate's motive even is? like she came back from the dead and she's screwing with derek and making her berserker servants kill people but like. WHY. ik there was like that one scene with peter where it was implied she wanted to make the argents great again (aka reinstate them to their former genocidal werewolf-hunting glory) but that doesn't make complete sense to me when she herself is now a shifter. or like maybe she's just that hypocritical idk (wouldn't put it past her). but even with that idk it doesn't make SENSE. why did she kill garrett and violet? why did she try to make scott's pack kill him? why did she do all that just to get derek to open the vault? literally what the fuck

if anyone has thoughts please share im at a loss here

[many-gay-magpies]

Thinking about this again. I was just struck with the mental image of Isaac going. I spent half my childhood locked in a freezer. À la his quip to stiles in anchors. Then Malia immediately hits back with And I spent half MY childhood trapped as a wild coyote. And then they high-five

Isaac and Malia should’ve been best friends, I feel robbed

[vomittedsoap]

Class drawings to brainstorm for a triptych/diptych… just a peek into my dark and twisted mind..

[artleaguemdcnorth]

PAINTING CLASS - FINAL ASSIGNMENT DIPTYCH - 11/27/23

This Class will continue today working with past due assignments.

You can read instructions and due dates in previous post.

This week, students need to start preparations and brainstorming for Final Assignment.

The Final Assignment for the painting class is to create a Diptych inspired by current events and the world we are living in today and inspiration from your museum and or Art fair visits.

It will be up to the student to depict this world.

You will need to use two canvasses for this assignment.

You can use any size format from 10 x 12 to 16 x 20.

It is up to you if you want symmetrical sizes or if you want to use uneven, one big and one small.

You can opt to tell a story through objects we collect or discard.

You can opt to depict those feelings of confinement and isolation given the previous circumstances we have endured and how our return to normality has been affected by that experience.

You can express yourself through magical realism or abstraction.  

As an artist you will decide the manner and style to use in order to tell a story that expresses the world we are living today.

In hindsight , your Diptych will become a record or time capsule of 2023.

First, start doing research as to how a diptych works in contemporary art.

Traditionally, Diptychs and Triptychs were often a  vehicle for expressing religious ideas and concepts. 

In modern times it has been used as a way to express secondary meanings. 

So explore how you will use this style to convey your message .

This assignment is due on December 10th , 2022 by 5pm.

Make sure you show progress photos of your project starting with some sketched ideas this weekend along with progress made each day. 

In addition to the paintings you will add an artist statement with your finished pieces.

See below several examples of Diptychs as they are expressed in  Contemporary Art:

Below, Diptychs in traditional Art from the Middle Ages

Final Note:

A Diptych is NOT a story , or one image cut in to two parts.

 It is actually two stories that when they come together create a third narrative. 

Project must begin on Monday after class. This includes research , material purchase etc.

This class will have a virtual meet next Monday along with a class critique to discuss this assignment and critique works done up to now. 

The following works should be completed by this time: 

1) Homage to artist 

2) Monochromatic Still Life  

3) Three Desserts inspired by Wayne Thiebaud 

4) Self Portrait 

5) Allegory

NEXT WEEK - assignments to be completed by 12/10/23

6) Museum Assignment (Art Basel Week) - *** (museum inspired artwork)

7) Diptych

***NOTE: if you go in person to any Art Basel event , you do not have to produce a work.

You need to document your attendance via Threads posts and include a photo of yourself inside the venue.

If you attend a virtual museum you have to do a painting inspired by the museum.

ALL WORK NEEDS TO BE COMPLETED BY SUNDAY 12/11/23. YOU WILL BRING ALL ASSIGNMENTS FOR A FINAL CRITIQUE THE LAST DAY OF CLASS.

You will post work and artist statement on your portfolio blog ON SUNDAY 12/10/23.

[johnjankovic1]

Global Village

We shape our buildings; thereafter they shape us. Winston Churchill, 1943

A symbiosis between NASA and the shrinking of the world into a global village informs the provenance of the telecommunications industry. The export of satellite technology from the pages of science fiction into the ether above was first articulated by the polymath Arthur Clark in 1945. Seminal to the industry the white-paper titled ‘Extra-Terrestrial Relays’ conjured up a world not connected by short-wave radio or a lattice of undersea cables but rather by signals bounced off stations in the void of space. A web of these satellites orbiting the earth unfettered by atmospheric disturbances could be a medium for real-time communication. The sheer audacity of this idea cannot be stressed enough. When the monograph was penned humanity had scarcely pierced the boundaries of space with its primitive technology. The highest altitude recorded by a V-2 rocket topped the distance of 189km in suborbital flight (Lee 2020). Just for Clarke’s hypothetical satellite to be entertained it would need to reach the threshold of 36,000km. The grandiosity of this foresight evokes the same futurism gleaned from Leonardo da Vinci’s first doodles on the mechanics of flight centuries ahead of their invention. But rather than be dismissed as a fit of daydreaming in less than two decades were these wild speculations of satellite technology brought to life.

America’s formal dalliance with transmitting signals into the vast unknown began with President Eisenhower’s industrial policy in 1958. Abreast of Projects Mercury, Gemini and Apollo another triptych begot a quantum leap in the separate firmament of global communication during the jet age. Projects Echo, Relay and Syncom each escalating in sophistication came to experiment with bouncing microwave frequencies off passive and active satellites from ground stations below. A diverse consortium of firms brainstormed these instruments under the auspices of NASA. In the halcyon days of adventurism into the cosmos Project Echo became a totem for a proof of concept to test whether radio signals could piggyback on objects in orbit for the sake of long-distance communication. This maiden satellite from 1960 was effectively a monolithic balloon of aluminized Mylar whose reflective properties redirected signals from a laboratory in California to one in New Jersey. Initially the Aeronautics Division of the foodstuff maker General Mills was recruited to build this galactic mirror but when it was discovered that it would fray in the inhospitable vacuum of space the firm was jettisoned for the Schjeldahl company. To stave off premature ruptures of the orb’s skin a single fortified seam was introduced versus the previous patchwork.

Upping the ante in technical specifications for the sequel to Project Echo was the Relay satellite which sought to undo the tyranny of geography. Communication signals via traditional infrastructure were liable to degradation over long distances at a prohibitive cost in capital. By contrast the bandwidth of Project Relay exhibited a fidelity heretofore unseen with the bonus of transmitting across further expanses. Whereas short-wave radio failed to penetrate the vicissitudes of atmospheric conditions whether it be through fog or rain this alternative had no such deficit that may throttle it. Moreover skeptics had to be reminded about the economies of scope whereby television, radio and telephone signals could be diffused on a single piece of hardware rather than across a multitude of terrestrial stations like in legacy systems. No longer would the geometry of communication be at the mercy of oceans or mountains but instead find deliverance in the airwaves far above. Thus the utility of Project Relay was not lost on policymakers whose analysis of the costs and benefits vindicated the industrial policy to finance it. Project Relay legitimized satellites when operational expenditures were bound to plummet as the onus of maintenance was removed. Telecommunications therefore was the very first technology to commercialize space.

A jigsaw of private stakeholders pooled resources together to inaugurate this next chapter in the study of satellite technology. One particular enigma that needed to be demystified promptly was the longevity of Relay’s testbed as its honeycomb of solar cells would face a barrage of cosmic radiation in the Van Allen Belt. The rate of degradation had to be probed and then mitigated if delicate electronics were to weather the wilds of space. Any viability hinged on ensuring a lengthy lifecycle of the satellite in this minefield of hazards and so advanced measuring hardware approximated 11 percent of the weight for the first iteration (Ezell 1988: 376). The omnipresence of radiation had to be properly understood lest the enterprise become a financial sinkhole. Relay 1 in turn would be the proverbial canary in the coal mine to measure the inimical effects of these energy particles as each critical system was made redundant with a backup in the event of a malfunction. After the first launch in 1962 the second satellite in 1964 boasted upgrades with shielding far more resilient to radiation than the preceding prototype. Relay 2 learned from its sibling and later broadcast segments of the Winter Olympic Games in Austria a few days upon the start of its mission. The program was the first to master real-time communication. 

In the saga of Cold War politics America paraded its soft power with the apotheosis of Syncom that followed in the footsteps of the foregoing Relay program. Although less romanticized in the public imagination than the lunar missions but of equal salience this final prototype sought a geostationary orbit above the equator relative to a fixed point on the ground. Such a static position aloft in space relayed signals for one-third of Earth in a revolution for telecommunications. This portmanteau of ‘synchronous communication’ epitomized a giant leap in technology. At an altitude of 35,768km the parity of speed between Syncom and Earth’s rotation intimated the satellite could synchronize with one location on the terrestrial surface and hover above it. In this precise position the system and its solar cells would be continuously recharged by the sun. Whilst minor propulsion difficulties hobbled Syncom 2 with its figure-eight pattern above the sky after its predecessor completely floundered the third iteration nudged itself into the coveted spot of a geostationary orbit. Instant communication was made a reality as Syncom became globalization’s progenitor where citizens were no longer spectators but rather participants to world events. NASA thus created an information super highway for the world.

In the pyrotechnics to explore and exploit the final frontier the connectivity that ensued from transmitting voice, data and video via microwaves irrevocably changed the world economy. Analogous to President Theodore Roosevelt’s industrial policy of building the Panama Canal in 1904 meant to truncate the journey around South America’s Cape Horn did NASA’s satellites induce a similar vector of growth. Government funding coupled with public-private alliances integrated markets akin to how faster transit by ship aroused the same effect although the latter clearly manifested in more analogue ways. The Information Age cultivated by satellite technology came to midwife a multi-billion dollar industry whose downstream effects hastened economic globalization. Traders on Wall Street could navigate London and Tokyo stock exchanges devoid of any lag in financials. Multinationals began to exercise greater agency in managing supply chains. Media transcended borders to diffuse a monoculture of capitalism amidst the spectre of sabre-rattling from Cold War hostilities. A digital Silk Road thereby homogenized markets as transaction times were whittled down from days to seconds. Commerce then seized upon the alacrity at which capital moved since geographical determinism was no longer germane to growth.

[la-vie-boheme6]

Y’all I’m trying to come up with an idea for a triptych (3 separate pictures that go together; a series) I have to create for my screen printing final and I have absolutely no ideas. You all are creative, give me all the ideas please. 

[64triptych193]

(086g)

furtho: Rene Burri’s West Berlin, 1957 (via magnum); b r a i n s t o r m, Posted by c86; dimshapes: Vera Lutter (b. 1960) 156 Columbus Avenue, New York City: June 16, 1997 © Vera Lutter

(via triptychon64)

Visit me on triptych193.wordpress

[jjlockhart]

My Process, Brainstorming and Sketches | Triptych Acrylic Painting, Part 1

My Process, Brainstorming and Sketches | Triptych Acrylic Painting, Part 1

Curious about my process?

Watch me plan, brainstorm, and sketch out my new commission piece. Behind the scenes on my process and working with a client. Floral triptych, three canvas combined, large artwork

SOCIAL MEDIA | PLEASE FOLLOW AND LIKE

           SHOP | LIKE MY ART? GIVE IT A GOOD HOME

[dksartz]

I realized I want to make art about my culture+ religion, specifically some of my experiences. But I don't want to do still life's, or big scenes, or lots of details that have to be perfect, I want to draw or paint the Feeling, people, hands, gestures; soft, warm light, the feeling of being in services, the feeling of doing the blessing before the shabbos candles, reciting kiddush, cutting challah... little things, focused in. Movement and community.

Anyway, so with some brainstorming I came up with some sketches for a few pieces, including maybe a triptych for the kiddush... I really want to do the shabbos candles one, even though thays going to be really fucking hard to do, whether I go with one moment, or the more complex with the movement of the hands (so painting a pair of hands in 3 very slightly different positions in the same pieces). But I'm excited, because these feel right. These have the life in them that just a painting of shabbos candles or whatever would lack for me. This won't be anytime soon, probably. But eventually.

I think I'll aim to do the kiddush trio, the blessing before the shabbos candles, and probably the over-the-shoulder view of people at shul/services. I could even tackle the same idea in painting multiple times! Im so excited for this!!

[skarlette1]

Origin of the Libido League

Photo by János Venczák on Unsplash

So, Dedicated Procrastinator recently bought me a cup of coffee and, instead of requesting a story, asked some questions to be expanded into essays. Here’s the first one:

Can I ask, how long have you been planning on the Libido League (I don't mean writing, I mean how long since you had the initial idea?)

Well, I have loved superheroes for a long, long time. Some of the first TV shows I remember watching as a little kid in the ‘70s were reruns of Adam West’s Batman series, the Lynda Carter Wonder Woman, the Bill Bixby/Lou Ferrigno Incredible Hulk, and the animated Spider-Man from the ‘60s. I started reading comics in the late ‘80s. My first superhero comic I bought was Captain America #332. Throughout the ‘80s and ‘90s, I read tons and tons of superhero comics, including a lot of back issues. The X-Men were one of my favorites (it was the ‘80s, the X-men were everybody’s favorite).

I’ve been reading mind control erotica on the Internet since before Simon started the EMCSA. I remember reading RC’s story “Hypnotized” on alt.sex.stories on Usenet in the mid-’90s. But I didn’t start writing my own stories until maybe 2012 or so? I’m not certain exactly and it’s at least two computers ago, so I can’t check.

Originally, I wrote just for my own enjoyment. I never intended anyone else to see those stories. Mnemonica was my first character, with the early chapters of what would eventually become my erotic novel Club Absinthe being the first thing I wrote.

While writing for myself, I jumped around a lot. If a scene or story line didn’t hold my interest, I’d just start something else. Besides “the telepath story” that eventually became Club Absinthe, I wrote most of “the armored heroine story” that eventually became Platinum Panther in Daring Truth. I also started “the magnetic heroine story” that became Lodestone in On Second Thought, and “the sorceress supreme story” that became Doctor Q in Spell-Snared.

I wrote just the sexy parts of Mnemonica’s other appearances in what would become Getting In and Rescue Gone Wrong. Plus a draft of Seduced in the Name of the Law with no superpowers or magic, just unrealistically-powerful hypnosis.

I wrote the first version of what would become Savior Seduced with Alexis and Yvonne having no superpowers. The only sci-fi/magic element was the mind-warping tech that would eventually become the Mesmerizer.

Then, in early 2016, I found Tumblr and folks writing caption stories prompted by erotic pictures. Something about that process just clicked in my brain and I started churning out those first flash fiction caption stories in March 2016. It was nuts, I posted new flash fiction stories seven days a week for six months straight!

I would just see a picture and make some stuff up. That was the fun of it. There was no planning. Ideas just percolated up and I typed them. Sometimes things seemed to work, like Captain Alpha, so I did more of them. Sometimes they didn’t, like the triptychs, so I didn’t come back to them. I didn’t really have a name of the superhero team, and only a vague idea of how they might exist in the same fictional universe. However, multiple heroes crossing over is a pretty foundational idea in superhero stories, so in some of my early flash fiction pieces, I called the team the “MegaLeague.” It was a seriously uncool name, but I just kept typing.

Then, in the summer of 2016, I stumbled across Smashwords and learned that creating e-books was possible without specialized software. When I decided to publish my stories, I wanted to make them the highest quality I could. That meant I needed a better name, for both the team and the e-book series. Look, I found a note to myself from summer 2016 when I was brainstorming names:

Thinking that the title might need to convey a bit more of what I'm going for. Maybe something like the Libido League. Or Eros League. Desire League. Lust League.

More than just a name, I also needed stories that were complete. My old habit of just skipping to something else when a story left the bedroom wasn’t gonna cut it. I had to make sure they had a beginning, middle and ending; that characters were introduced and remained consistent; that they made a certain level of sense, at least internally. I looked at the drafts I had, and started revising them.

Embarrassing Confession: The first six Libido League stories were released in the order of which needed the least amount of editing. On Second Thought was short and the closest to being publishable, so that’s why Lodestone and Razorgirl were first out of the gate. Even though parts of Club Absinthe were the first thing I wrote, the story itself blossomed into such a long, involved piece that it took me years to finish it. Libido League #7: Sexual Self, was the first story that was started after I was publishing, so it’s the first that was written all the way through with the idea that other people might read it.

So, in short, I haven’t done a ton of planning. For each story, I make up what I need as I need it, like this:

That’s how Stan Lee and Jack Kirby (and Steve Ditko, and John Romita, Sr., and …) created the Marvel Universe. That’s how Chris Claremont (and John Byrne, and Dave Cockrum, and Paul Smith, and …) turned the X-men from a book that had been canceled into the best-selling series in comics. By making up one good story, then building another one on top of it.

These days, as I have a lot more stuff already published (more than a quarter of a million words!), it requires a little more attention to avoid contradicting myself. That requires a little more editing, which is why Invasion from Planet Lust took more than two years to finish. But I think it’s the best thing I’ve written yet. Next week, you’ll be able to let me know if you agree.

Thanks for the question, DP!

---

My newest erotic novel, Libido League #12: Invasion from Planet Lust, is available starting September 22, 2021 from Smashwords and Amazon!

[many-gay-magpies]

help i think im accidentally adding sapphic context to allison, malia, and kira in the scallisaac polyamory fic

[rubykoncubes]

So far, i made a digital media triptych of the Camp Buddy x Sesame Street AU i brainstormed with some fandom pals on Twitter. But, don’t worry, there’s gonna be more. :)

So far, we got the puppets : Elmo Hiro, Cookie monster Yoichi, Groover (Seto) & Zoenter.

[narumi-gens]

500 Event—

I’d like to know how you get inspired for your fics. Like Triptych or Kintsugi or Weary Hearts. Mainly, are you inspired more by love or intrigue? Like Nanamin 🥺 you clearly love, but is there any character you just found neat (in any series), explored their character and THEN came to love? Or maybe they are just hot asf and you’d like to write about them? Do you get a vision, and then just have to bring it into existence? What are your secrets 👁 👁

Here’s my big secret: inspiration always starts with me thirsting over a character first.  

But then once I’ve started thirsting and decided that I want to show a character some love, it usually goes one of two ways:

1. I write a one-shot and those are pretty much situationally based where I love a character and want to see them in a certain situation. So for the Atsumu one-shot I have, I instantly thought a hate-fucking fic would be perfect for his character because he’s so infuriating. Or for my Aizawa fic, I wanted to write about his SO ending up at his hospital bedside and how that would go. All of the JJK “Top 5″ asks that I do really fall in this category because they��re situational. All these fics are kind of like hcs that I want to dedicate time to fully fleshing out. Like with the Akaashi Marie Kondo fic, I watched her show and was like “Akaashi is definitely a zealot for the KonMari method” and decided to write out the hc as a proper fic. 

2. For multi-chapter fics (á la the ones you mentioned or like the Ukai fic), that’s where wanting to really take some time and explore a character comes into play. And these always involve a lot of world-building on my part of trying to figure out how the MC in these fics really fit into what’s already canon. So, for Kintsugi, I really wanted to write about Nanami and the softer, more emotional side of him that we only get glimpses of in the manga/anime. But I had to think a lot about a situation where I could actually explore this side of Nanami and once I had the idea (and it took a couple of weeks to properly think of!), I had to spend a lot of time thinking about how MC would fit into everything with her own backstory. And then not only what’s her relationship with Nanami, but what about Gojo? How would she interact with Yuuji? What about the rest of the jujutsu world? What about her relationships with characters I haven’t even written her interacting yet? And then once I have all of this and the plot idea thrown into a brainstorming doc, that’s when I can start writing. For any of my longer fics, you could basically ask me any question about backstory or character motivations or whatever, and I would probably have at least a general idea and be able to answer. 

The reason I don’t think I’ll ever take the time to write about a character that I’m not super thirsty over, even if I think they’re interesting is because I just wouldn’t have the motivation to write something for them. Instead, I try and find ways to work those characters into fics about characters that I am super thirsty over. Triptych is probably a good example of this. I wanted to write about Chisaki, but then there’s a lot of me working in other characters because I want to see how they fit into the story and how MC interacts with them. Like, I’m not thirsting over Nemoto but I find his devotion to Chisaki and his Quirk so interesting that I found a way to work him in and I wanted to write the second chapter from his POV. And I’m not thirsting over Kurono but I can’t wait to write him interacting with MC. 

The only thing I don’t like writing, even when I’m super thirsty and even if the idea for a fic does comes to me, is non-established relationships. So if you go through my fics, you’ll see that 99% of them are all established relationships because I hate having to write people meeting for the first time and chemistry beginning to build and showing why the characters are attracted to each other rather than jumping straight to the good stuff. I could have written Triptych chronologically and began with Chisaki and MC meeting for the first time, but then I would have been so bored and just wanting to get to certain other scenes that I’m more motivated to write. 

So, these are my secrets. They’re not that exciting but now you know my entire thought process around why I choose to write something. Do what that information what you will, but please use it for good. Great power, great responsibility, blah blah blah, yadda yadda yadda.

500 Followers Event

[rebeccaroberts-photography]

Planning: Brainstorming Ideas

15/11/20

Triptych Ideas

The next stage in the planning stage is to start brainstorming ideas for my triptych, thinking about compositions, and set ups for the shoot.  So since the triptych is made up of three parts, I’m going to approach the ideas for each image separately. I have come up with three overall topics that are an important apart of me that I could focus on for this project these include: art, music and the beach.  These are my ideas for the self portrait, the object and the location for these topics.

Art

My idea for the self-portrait was to photograph myself in amongst a selection of my canvas paintings but I wanted to take a more unusual approach to the composition instead of just sitting in front of the paintings, I thought about positioning the canvases around me on the wall/leaning against my bed with me lying upside down on my bed or the floor. The idea behind this composition is that sometimes to get inspired I have to look at things from a different angle to get a new perspective on an idea that might not have been interesting at first.  A secondary idea for the portrait was to paint a self portrait in my art style, and set up a portrait where I am holding the canvas out in front of my face which is what the focal point would be. The portrait painting would be a reflection of how I see myself.

My idea for the object was to photograph my paintbrushes in the brush mug I keep them in, I wanted to photograph this on my desk with a cork board in the background that I have covered in concert tickets and postcards. I thought this might be a good composition because it involves more than one of my interests. I also thought of photographing my sketchbook along with the paintbrushes and pens I use because I spent a lot of time doodling and coming up with ideas in this book.

My idea for the location was an area of my room where my desk is, I wanted to show my desk set up and organization. Above my desk is the corkboard with tickets and postcards which acts as a sort of inspirational board for when I am trying to source inspiration or motivation when I get art block.

 Music

My idea for the portrait was to make a set up near the window in my room, I wanted to use a mirror or some sort of distortion technique to take a portrait of me wearing earphones as I use these to listen to music. I also thought of trying to have my guitar hidden in the background to help link the images together. For this portrait I would want to try to use natural light and reflectors. I wanted to portray my passion for music through these because it is one thing that helps me destress, to figure out my emotions and untangle my thoughts so music does have sentimental value to me.

My idea for the object was to use my guitar, I wanted to photograph this instrument in dramatic or natural lighting and work on a composition that was more abstract and visually interesting to work on. I have an acoustic and an electric guitar so I could photograph one or both of these for this shot.  I tend my play my guitar to help my brain unwind and relax after working on my laptop or on another task for a long time, it is quite therapeutic and enjoyable to sit and learn a song for half an hour or so before going to bed.

My idea for the location is the corner in my room where I keep both of my guitars, my ukulele and my keyboard, I thought of photographing this from a low viewpoint and trying to include some of my desk are and the art work on the wall.

 The Beach

My idea for a portrait at the beach would be to take some shots of my lying at the shoreline just as the waves hit me, I thought of taking more close up shots of this same set up and trying to capture more emotion or a more peaceful state. Another set up I thought of was to position myself beside the rocks and where rockpools are, I wanted to explore more vulnerable body language and portray my more emotional and fragile side. The idea behind shooting at a beach and by the short line is because I spent a lot of time there with my mum, however I also think the sea bring a lot of peace, it helps to ground you and sometimes it’s the perfect environment to let out and let go of any bottled up emotions.

My idea for the object was to photograph a conch shell or a shell with a similar shape that I had collected from the beaches, I thought of photographing this in a fine art style with minimal and dramatic lighting. But I also had an idea of photographing the shell on a the sand or in a rockpool where it is in its natural environment. The idea behind the shells is that they represent home and safety, following the idea of coming out of your shell – something that I have done over the past year and more so the past few months. A third set up idea for the shell would be to photograph it in a bottle by the sea, this would combine the idea of bottling up emotions, the idea of safety and comfort zones but contrasting this with coming out of my shell, letting go and growing as a person.

My idea for the location was to shoot a wide shot of the sea, possibly including the shell as a n easter egg in the shot to help link them together I could also photograph a rockpool for this shot. Sometimes at the beaches we go to there is a lot of drift wood, so if I could photograph this on the shoreline it could be symbolic of the idea that when you get lost, drift way from reality or lose yourself, you will find your way back home.

Compositions Sketches

[tsukimusha]

"Tale of Zelda - Power”, 2016. The second part of the triptych, which I intended to have on the left of Link.

My sketch is extremely simple and rough haha. I literally just threw done the idea and made it look pretty later. Since I had Link’s horse facing left and up, I wanted Ganondorf’s horse to be moving toward the bottom right, almost like a yin yang shape when combined. This was still before I decided to add Zelda. You can see the quick notes I scrawled in there too right on the Photoshop canvas. I brainstorm side notes and lists for nearly every illustration as it helps me organize my thoughts and decide which thematic elements to push.

I really liked Ganondorf’s design in Hyrule Warriors, particularly with the long hair which reminded me of the wild hair wigs seen in kabuki theater, so I decided to push that element. He had cool purple glowing swords too, which I changed to naginata. Aside from that, it was important for me to adorn him in heavy samurai armor, like a shogun at war, but I was stumped about adding a kabuto (helmet) because I didn’t want to obscure his face or hair. So in the end I decided to stylize his face like a menpo mask that often accompanied the kabuto and I’m really happy with the result. The second to last photo shows a menpo mask (Source: https://en.wikipedia.org/wiki/Men-yoroi)

I played around with the horse design a lot, pulling references from a book on samurai armor I got from the MFA’s “Art of Armor” show a few years back. I based the bamen (horse mask) directly off one in that book. The last photo shows it (Source: https://www.flickr.com/photos/liquidnight/10675484544

There was no single print that really inspired this composition, but I did look at several for ideas in posing, technique, and the design of the lightning.

[cap-ironman]

Nailed It! Clinching Your Cap-IM RBB Claims Submission

EVENT INFORMATION | ARTIST GUIDELINES | WRITER GUIDELINES

There’s a week and a half till the 6th February art submission deadline for the Cap-Ironman Rverse Bang!

As you sketch up your RBB entry/entries, you might think back to the Artists’ Guidelines and begin contemplating how “complete” you want your art to be when submitting it for the challenge. This is the form your entry will appear in on the claims post, and it’s what will represent your artwork and your ideas and narrative concepts, so you want it to be spot on!

This post will run through the Cap-IM RBB requirements and give tips on aspects of completeness you might like to consider before you click send on your submission email to us!

From the top—what counts as a Cap-IM Reverse Bang entry?

An RBB entry is any art created with digital or physical media that prominently features Steve/Tony or Steve and/or Tony in any situation that could be developed into a story about Steve and Tony and their relationship, whether platonic or romantic, in any setting or continuity you can think of.

An entry may consist of a single image, a multipanel work, or a series of sequential images, and you can send in works in progress and sketches as long as characters are recognisable without labels. Examples of art forms include:

a single drawing in a traditional medium like acrylic, lead, watercolour or charcoal

a comic strip that is textless or has minimal text

a triptych of images painted digitally, each showing part of the larger picture or different angles of the same scene

two drawings that follow one after the other to better illustrate a scene, but aren't arranged on the same page

a sculpture, embroidery or a different craft that is able to be properly captured in 2 dimensions as a photograph or scan, and follows the rest of the criteria of the RBB

If you have an idea for the RBB and aren't sure whether it fits the criteria, please email cap.im.events@gmail.com to discuss it with the mods—we'd love to hear from you! The above examples are not all-encompassing, and we welcome new formats that we haven't seen before.

Each entry must speak for itself, as art will only be accompanied with a codename, universe(s) and the artist's Do Not Wants in the claims post: no additional information is given.

Art does not need to be finished during the submission period. Additionally, artists are welcome to start more art after claims.

What does this actually mean?

These guidelines are to help establish the sorts of things you should, broadly, be creating for the Cap-IM RBB. We emphasise that an art entry submitted for claims can be a work in progress because it means that there is no pressure for it to be 100% complete when submitted.

This allows artists more flexibility with their entry or entries!

You may not want to submit a partial artwork for claims, or have the time to completely finish your art entry before submitting, and that's great. But as long as you're hitting the submission criteria above, you are welcome to submit art that isn't done yet, and keep working on it after claims. You may also get inspired by the accompanying fic that your partnered writer creates, and decide to illustrate another scene from the fic: that's more than fine, too!

So, if I don't have to finish the art, when do I know it's done?

Here's a short, handy checklist that is intended to help you identify whether you're achieving all the things you want as you get closer to submitting your art.

Have you:

chosen an artwork or artworks that you, personally, are having fun creating?

set up the artwork(s) so you are confident you'll be finished by the end of April?

successfully portrayed the intent of the work? (For example, if Steve is mourning over Tony, it should be clear that it's a sad artwork; if Tony is flying with Steve in a training exercise, it should be clear that there isn't a mission, and the tone of the scene is clear.)

provided enough visual information for viewers? (This can range from setting to narrative; for example, if your comic is intended to be a medieval AU, is it clear that Steve and Tony are in the past, and don't have access to modern technology? If Steve and Tony are off adventuring in a dark cave and you want to do dramatic chiaroscuro lighting from the torch Tony is holding up, have you made sure to sketch in dark and light values depicting that?)

decided which universe your art is set in? (Remember that you are allowed to pick more than one— you can choose the "any universe" option if you don't mind which universe it's set in, or pick multiple universes if there are a few contenders that you think your art would fit into.)

Ideally, you want to like your art and think that it portrays your idea properly, but this doesn't mean it has to be 100% done by claims. Sometimes it's nice to leave space empty so you can collaborate more closely with your partnered writer. For example, if you're not sure which universe the art will be in yet, it might be a good idea to hold off doing details like eye colour and uniforms (if applicable), as these change. If you'd like your writer to have some input on what's happening in the background of a scene, perhaps leave some white space for a secondary character, or only sketch lightly so they are aware you're willing to accept suggestions. If you're not sure what colour Tony's shirt should be, you can hold off on that and leave it blank. There'll be plenty of time to communicate with your partner after claims, so if you don't want to set your art in the proverbial stone just yet, you don't have to!

The most important things are that you are happy with the art you've produced, and that anyone looking at your art will be able to identify your characters easily.

The Reverse Bang is a fun, collaborative event that gives you the opportunity to draw Steve and Tony wherever and as whoever you like best! We look forward to receiving your gorgeous art entries in our inbox. Remember that if you have any questions not covered by the Guidelines of the RBB (linked at the top of the post) you can flick us an email at cap.im.events@gmail.com.

Don’t forget to check out our previous posts:

Brainstorming suggestions and art resources

Arting for the Cap-IM RBB

As well as the cap-ironman inspiration post tag!